Dieter Blum, Brigitte Pfeiffer, Mike Wolf


24 x 32 cm




70 colour illustrations


Hard cover





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Topographie des Lebendigen

Firstly, Dalip paints heads as if they were houses without windows; greyish-green, gigantic structures, grown like rocks, like nature, as if from song of ancient gods, from the beginnings of creation.
These heads are painted as being nearly abstract-concrete. Their volume grows from the surface with subtle colour changes. They give the surface a centre. They share the painting area to the right and left, but the open space is missing.
Additionally, Dalip’s heads are mystical minds. In the innocent coolness of their colours and shapes, these heads present a freshness like the dusk of life, but they do not smile at us, they do not tempt to look behind their foreheads. In their firmness, however, they were and they are sure companions, like a totem or a mandala. Dalip painted them individually, in pairs and in groups. They face each other, turn away from each other. They are, and were, static worlds of images, similar to the ones of Giorgio Morandi (1890–1964). It is still life and, like with Giorgio Morandi, a reason for painting.
From these initially reluctant painting of heads, Dalip created volumes, by lightening or darkening the colours. These slim heads on long necks gained space for themselves. Without perspective, representations gained life in the objectivity of the surface through the colours. This life is the living thing in and by itself, it is the flow of time in the image, which rules it. Dalipʼs positioning is closer to that of Jawlensky, than that of Beckmannʼs. But Dalip does not close the chronicles. In the following years, there are sketches, notes, daily routines, which have come into the picture, that partake in this quiet sound. The forms become more open, the colours become freer.
Translation of the text extract from Dr. Friedhelm Häring, Museum der Moderne, Giessen